Capsule reviews for Sept. 25

Foster Boy

While its true-life cause is commendable, this heavy-handed legal thriller is too far-fetched to have the desired emotional impact. It shines a worthwhile spotlight on corruption in the American foster-care system by focusing on a snobby corporate lawyer (Matthew Modine) forced to take the pro bono case of a teenager (Shane Paul McGhie) who’s trying to expose a scheme that saw a placement firm profit while he was abused as a child. As attorney and client reluctantly find common ground, the well-acted procedural hammers home its message without much subtlety or suspense. Hopefully this heartfelt effort can empower victims and spur change behind the scenes. (Not rated, 109 minutes).

The Last Shift

Beneath its breezy charm, this intergenerational two-hander has some meat on its blue-collar bones. Hard-working and soft-spoken to a fault, Stanley (Richard Jenkins) is retiring after 38 years working the graveyard shift at a Michigan fast-food joint. His replacement is a young father (Shane Paul McGhie) on probation and seeking a fresh start. While serving up sandwiches, they discuss race, politics, corporate greed, and their own hardscrabble circumstances. Then an incident changes both of them in unexpected ways. The screenplay by rookie director Andrew Cohn needs to be more forceful in its second half, but strong performances keep this modest drama from leaving a sour taste. (Rated R, 91 minutes).

LX 2048

The latest cinematic example of a hopelessly depressing future, this muddled dystopian drama can’t capitalize on an intriguing concept. In a world where sunshine is toxic and all daytime interaction is virtual, Adam (James D’Arcy) is dying of heart disease. He becomes involved with an experimental insurance program that would replace him with a clone for the sake of his estranged wife (Anna Brewster) and AI-addicted children, except it comes with unintended consequences. The screenplay by director Guy Moshe (Bunraku) provides a cautionary tale about technological overreach while trying to remain emotionally grounded. Yet the film’s ambitious hypothetical ideas gradually become more convoluted than compelling. (Not rated, 103 minutes).

Misbehaviour

A top-notch cast and some true-life historical headlines slightly elevate this muddled British drama that spotlights some audacious women’s libbers. It’s centered on the 1970 Miss World beauty pageant in London, hosted by notorious chauvinist Bob Hope (Greg Kinnear), and the members of the grassroots Women’s Liberation Movement whose protest aims to make a mockery of the ceremony. While a young mother (Keira Knightley) reluctantly joins their cause, one of the contestants (Gugu Mbatha-Raw) fights racial barriers behind the scenes. The film struggles to wrangle its various subplots and social issues, and winds up settling for crowd-pleasing formula. The ensemble includes Jessie Buckley and Lesley Manville. (Not rated, 106 minutes).

Oliver Sacks: His Own Life

The simple title of this documentary runs counter to the complexity of its subject, which might be appropriate. After all, Sacks’ story doesn’t adhere to expectations, which is what makes it fascinating. The film weaves together interviews with the British neurologist and those close to him, providing remarkable candor just before his 2015 death from cancer. There’s also plenty of archival footage about his career as a renowned healer, which inspired the 1990 drama Awakenings among other achievements. Straightforward yet consistently compelling, the film from director Ric Burns shines a worthwhile spotlight on a man whose outward compassion toward his patients masked a behind-the-scenes vulnerability. (Not rated, 111 minutes).

Ottolenghi and the Cakes of Versailles

A feast for your eyes, if not your lips, this documentary spotlights the convergence of art and food with a behind-the-scenes tour of an exhibition connecting 17th century France with the Instagram age. In 2018, the Metropolitan Museum of Art commissioned French pastry chef and food historian Yotam Ottolenghi to curate a culinary component of its “Visitors to Versailles” exhibit. Ottolenghi accepted the unique challenge and assembled a worldwide team of collaborators to pull it off. As director Laura Gabbert (City of Gold) sometimes struggles to ramp up the kitchen drama, the result is mostly a sumptuous treat for foodies and art aficionados alike. (Not rated, 75 minutes).